In this final section of the book, the author describes the process of trying to learn more about the subject of Dmitri Baltermants’s iconic photograph Grief, P. Ivanova. Technology allowed him to conduct research in Russia even though he has not been to the country since 2008, when he felt unsafe returning to Putin’s Russia, which had become increasingly xenophobic and homophobic. The epilogue closes with a meditation on how wartime photographs from the antitank trench are used in contemporary rituals of the Kerch Jewish community. The author ponders whether Grief will one day be incorporated into these local rituals.
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